TABLE OF CONTENTS

OUT OF ORDER: THE PUBLIC ART MACHINE

THERE'S GOOD REASON TO be wary these days when the signs of another specialization start emerging—when one small point is established at the sacrifice of the wide horizon. Contemporary society has become remarkably undisciplined in the ways that it spontaneously endorses new disciplines in almost unimaginable areas of expertise. Those involved in the art world are well accustomed to the coalescences and lightninglike dissipations of style, but a new speciality is not a common notion. In the past 25 years, traditional distinctions between sculpture, painting, drawing, photography, and installation—as well as the idea of art and architecture as independent, exclusive phenomena—have eroded, causing fused and hybrid forms and unusual intersections. And conceptual catholicity, openness, and negotiable categorization have provided the groundwork for the galvanization of a new art: the now very

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